SIMULATED STEREO

RE-105 EFIOES 'Jr AN ERA The Charlie Parker-Dizzy GillespieYears RE-105 STEREO

The Charlie Parker-Dizzy GillespieYears

A quarter-century ago, Bop others would find hard to Benny Carter. In this heri- and concerned himself with the pianist whose Modern was a revolution in music, copy. Inevitably, there were tage, they differed from many indicating chord changes Jazz Quartet was to assume a revolution as enthusiasti- racial undertones to their of their disciples, whose jazz and filling in between the such significance in the next cally supported by some as thinking, because whites had background was decidedly horns' phrases. The unison two decades. The opener, it was violently opposed by reaped the harvest of Swing fragmentary. Bird and Dizzy theme statements often A Night in Tunisia, was come others. The boppers, in fact, which blacks had sown. knew what they were rebel- heard were not original, but posed by Dizzy and re- were the jazz militants of While Bop could not long be ling against, whereas many a continuation of a practice putedly given its title by Earl their day. They wanted to confined behind racial bar- of their younger imitators that had been become in- Hines. It became one of the overthrow the jazz establish- riers, the fact remains that did not. The latter, by repeat- creasingly popular with major bop anthems, and like ment, to supplant it with it was essentially the creation ing errors and spur-of-the- small groups of swing era Groovin' High on the same renovative processes which, of black musicians, and most moment gaffes, ultimately musicians. The basic mate- side, it was one of the favor- to the minds of their prede- particularly of Charlie "Bird" did the movement consider- rial also remained much the ite vehicles for improvisa- cessors, spelled anarchy. Parker, John Birks and able harm. However, other same—the twelve-bar blues, tion of Dizzy and Bird, both The boppers believed that "Dizzy" Gillespie. understanding and more the chord sequences of of whom often used it in jazz had become stagnant, These two artists were both intelligent musicians, such I Got Rhythm, Cherokee, different contexts. and that their way repre- members of Earl Hines's as trumpet players Benny Indiana, etc. The original Dizzy plays only on the last sented progress. Like all band in 1943. One of the Harris and Fats Navarro, chords were often altered, three titles of the second revolutionaries, they were great jazz innovators, Hines pianists Thelonius Monk and however, and passing chords record, the other seven being guilty of excesses. Decked has always interested him- Bud Powell, trombonist J. J. added. Improvisations were, by groups led by Bird. These out in goatees, berets and self in the discovery and Johnson, saxophonist and in consequence, full of introduce some formidable dark glasses, they derided presentation of new talent. 'arranger Budd Johnson, unusual intervals as the young talents on their way entertainment values and He began leading a big band and drummer Kenny Clarke, soloists played groups of up the ladder of fame. One accused older musicians of as early as 1928, and from were among those who gave notes related to passing is an aspiring trumpet being Uncle Toms. Eventu- that time to date his career invaluable assistance to a chords not stated by the player, a long way from ally, of course, yesterday's has been remarkable not music that was hatched in rhythm section. rock 'n' roll and Fillmore revolutionaries became only for the level of his own the Earl Hines incubator Harmonic and rhythmic inno- East, but not altogether at today's conservatives, and performance, but for the and conceived in either Clark vations were supplemented home in Bird's aery domain as such have been duly great singers and instrumen- Monroe's Uptown House or by new conceptions of either—Miles Davis. Here, appalled by the excesses talists he has encouraged Minton's Play House, to phraseology, notably longer too, is the assured musician of the New Thing. and brought to the attention name the two Harlem clubs phrases interspersed with who first translated the swift- Looking back, with all the of the public. His tolerance where most of the earliest held notes and unexpected ness of bop to the trombone benefits hindsight bestows, and support resulted in his experimentation took place. pauses. The technical de- —J. J. Johnson. And on it is obvious that a change 1943 band being referred to Bop harmony was generally mands of bop were such drums is one of the idiom's in jazz was inevitable in the in all jazz histories as "the more complex than that of that comparatively few play- masters—Max Roach. mid-40's. Transportation incubator of bop." It was the earlier jazz styles, but ers could improve satisfac- Chronologically last are difficulties caused by World there that Bird and Dizzy the rhythmic differences torily within its framework, seven titles recorded by War II, and the drafting of diligently studied their exer- were more than anything but some of the best of those Dizzy in Paris. It is six years - key sidemen into the armed cise books and came up else responsible for the line that could are heard to later and the tensions of forces, had had a grievous with the devices and phrase- of demarcation between advantage here. By 1947, experiment have been re- effect on the big bands. ology that were to charac- musicians of the old and new when most of the music in laxed. In the company of that Their kind of jazz, packaged terize the new music. styles. Apart from the bop- this set was recorded, bop high-spirited singer, Joe and skillfully marketed as So far as jazz was con- pers' feeling for up-beat had an easily recognizable Carroll, the leader gives free Swing, had known unprece- cerned, both of them were accentuations, the new style character, quite distinct from rein to his sense of humor, dented success for a well grounded in the music of drumming maintained the the "hot" jazz that preceded and a more extroverted decade, during which popu- of the preceding generation. rhythm on the top cymbal it and the languid, "cool" atmosphere results. The larizers and opportunists had Charlie Parker had been and used the drums to punc- kind that was to follow. perilous phase of the revo- made fortunes. The boppers with Jay McShann's Kansas tuate the melodic line. Simi- The first session heard here lution was over,.and golden were well aware of this situ- City band, and Dizzy larly, the pianist did not brought together in Carnegie . days lay ahead for Dizzy, ation, and they sought to Gillespie with those of Teddy maintain a regular beat, but Hall not merely Dizzy and but time, alas, was running express themselves in a way Hill, Cab Calloway and left this function to the bass Bird, but also John Lewis, out for Bird. STANLEY DANCE. The above photos show "Diz" and "Bird" in a series of photos during live performances at Birdland .

riCHOE Of AN ERA The Charlie Parker GillespieYears

side one side three A Night In Tunisia (Pt. i) (A) Bird. Feathers (c) 3:00 (Gillespie-Paparelli) Leeds Music Corp. ASCAP 2:57 (Forshay Music, Inc.) BMI A Night In Tunisia (Pt. 2) (A) Air Conditioning (D) 2:01 (Gillespie-Paparelli) Leeds Music Corp. ASCAP 2:50 (Forshay Music, Inc.) BMI Confirmation (A) OuaSiModo (D) 3:15 (Charlie Parker) Atlantic Music Corp. BMI 2:50 (Forshay Music, Inc.) BMI Groovin' High (Pt. 1) (A) Crazeology - (D) 3:03 (D. Gillespie) Leeds Music Corp. ASCAP 2:56 (Forshay Music, Inc.) BMI Groovin' High (Pt. 2) (A) Dewey Square (B) 2:04 (D Gillespie) Leeds Music Corp ,ASCAP 2.55,*(Forshay Music,.Inc I BM'

side two side four School Days (E) Bongo Bop (D) 2 30 (Forshay Music Inc ) BMI 2:44 (Forshay Music, Inc ) BM! Swing Low Sweet Cadillac (E) Klactoveededstene (c) 3 55 (Forshay Music Inc ) BMI - 2:55 (Forshay Music, Inc) BMI Good Bait (E) Ooh Shoobbee Doobee (E) 4 50 (T Dameron C Rave) Bregman Vorco Conn ASCA/' 3.15 (Forshay Music, Inc ) BMI The Champ (E) I've Got The Bluest Blues (E) 4:25 (D. Gillespie) Atlantic Music Corp. BMI 3:50 (Forshay Music, Inc.) BMI My Man (E) Dizzy Atmosphere (A), 3:05 (Yuain-Pollack) Leo Feit,Inc ASCAP (D. Gillespie) Leeds Music Corp. ASCAP

(A) Dizzy Gillespie, trumpet; (B) Charlie Parker, alto saxophone; (C) as (b). 4 November, 1947. (E) Dizzy Gillespie, trumpet, vocal Charlie Parker, alto saxophone; Miles Davis, trumpet; Duke Jordan, New York City. and conga; Bill Graham, alto and Jonn Lewis, piano; Al McKibbon, piano; Tommy Potter, bass; (D) as (b), J. J. Johnson, baritone saxophones; Wade Legge, bass; Joe Harris, drums. Max Roach, drums. 28 October, trombone, added. 17 December, piano; Lou Hackney, bass; 29 September, 1947, Carnegie Hall, 1947, New York City. 1947, New York City. Al Jones, drums; Joe Carroll, vocal. New York City. 9 February, 1953, Paris.

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